All Posts Tagged With: "public television"
POV 2008 Season Announced
Summer is almost upon us and that means the excellent POV series on public television. I have mentioned POV a lot in the two years I have been writing this blog because the programming is excellent, they pay their filmmakers fairly (yes, this still impresses me) and it means millions of viewers tuning in to see some of the wonderful films that might not otherwise have such a big audience.
The 2008 series launches on June 24 with Katrina Browne’s Traces of the Trade. Her film was a part of the IFP Market the year that I was there, and I am curious to see how it turned out. It follows Katrina and members of her family as they explore their family background in the slave trade. Titles and dates (All programs air Tuesdays at 10 p.m., unless otherwise indicated; check local listings.):
June 24 Traces of the Trade by Katrina Browne
July 1 Election Day by Katy Chevigny
July 8 The Ballad of Esequiel Hernández by Kieran Fitzgerald
July 15 The Last Conquistador by John J. Valadez and Cristina Ibarra
July 22 9 Star Hotel by Ido Haar
July 29 Campaign by Kazuhiro Soda
Aug. 5 Johnny Cash: The Man, His World, His Music by Robert Elfstrom
Aug. 12 Belarusian Waltz by Andrzej Fidyk
Aug. 19 The Judge and the General by Elizabeth Farnsworth and Patricio Lanfranco
Aug. 26 Kokoyakyu: High School Baseball by Kenneth Eng (Encore)
Sept. 2 Lomax the Songhunter by Rogier Kappers (Encore)
Sept. 9 Freedom Machines by Jamie Stobie and Janet Cole (Encore)
Sept. 23 Calavera Highway by Renee Tajima-Pena and Evangeline Griego
Sept. 30 Critical Condition by Roger Weisberg (9 p.m. Special)
Oct. 7 In the Family by Joanna Rudnick
Oct. 14 Up the Yangtze by Yung Chang
Oct. 21 Soldiers of Conscience by Catherine Ryan and Gary Weimberg
December (date TBA) Inheritance by James Moll (9 p.m. Special)
POV Blog, WGA and The Camden 28
Thanks to AJ for pointing out the POV blog; I remember some staffers telling me they were going to implement one, but sadly I never got an email about the launch. Some of my favorite doc folks are posting, including Simon Kilmurry. He posted a great response to David Poland who writes on The Hot Blog, about the WGA nominations for best documentary writing, “has anyone outside of the WGA seen the top doc vote-getter, The Camden 28?”Kilmurry’s response:
What Poland’s post raises, I believe, is the more problematic issue of equating box office success with the importance of a documentary—a crude measurement. Let’s get real here, the vast majority of docs have a very limited box office appeal. I can’t believe that other WGA nominees made millions at the box office—despite how much I might admire The Rape of Europa and the excellent No End In Sight. Most of them make little or no money. (As far as I’m aware, the WGA does not take box office in account in their awards, God bless them.) Read the whole article
I’ve been slow in reading and posting lately and part of that is being busy but part of it is also boredom with what people are writing about film. Awards are great because they raise awareness among new audiences about great films that they may not have seen - The Camden 28 is a great example of that. It’s a wonderful movie. It revisits a 1960s act of civil disobedience and asks the participants to relay those events, which they do. The film is conventional in style but it is so inspiring to see the story of people who were willing risk their own liberty to send a message to the government, as that doesn’t seem to be happening now, despite widespread dissatisfaction with the actions of our government… but I digress. The issue is that so many writing about film are only focusing on box office, and seemingly ignoring anything film-related that doesn’t have to do with theatrical release.
iW: Showing Movies, Making Change: P.O.V. at 20 Years
As film lovers, we tend to remember our significant film moments. One such moment for me was Elizabeth Barret’s “Stranger with a Camera.” In it, Barret revisits the 1967 murder of filmmaker Hugh O’Connor by a Kentucky local who was fed up with what he considered exploitation of people and poverty in his hometown. Barret, who grew up in Appalachia herself, uses her personal and regional history to explore the relationship between filmmaker and subject, with profound results. The story is at once personal to the filmmaker, and to me having grown up in West Virginia, while it also explores our nation’s collective ambivalence and fascination with poverty and relationship to media. My experience with the film steered me toward a career in media because, like the staff of P.O.V. which aired the film in 2000, I whole-heartedly believe that media has power to change the way that we think and influence our actions. Read the entire article>>
Made in LA on P.O.V.
Robert Bahar and Almudena Carracedo have been working for several years following the stories of garment workers in Los Angeles as they fought Forever 21 for better wages and working conditions. Besides putting human faces on statistics and vast issues, their film is important because it chronicles the story of people within the U.S., as opposed to those laboring in countries that have a different relationship to the world economy than our own.
The women who form the core of Made in LA must live in work in Los Angeles, and their lives are not so far from our own. The film is beautifully crafted and particularly in a time where success against big corporations feels slight and far away, Made in LA is an inspiring and educational tour through labor rights and the possibilities for workers who decide to make a stand collectively. Check it out on P.O.V. on Tuesday night>>
Arctic Son on POV
I hope that you’ve been checking out P.O.V. this summer. Tonight is one of my favorite films that I saw last year on the festival circuit and if you haven’t seen it, I hope you will tune in tonight. From the P.O.V. newsletter, a brief note from filmmaker Andrew Walton:
This film is the result of 10 years of hard work and was inspired by my chance encounter with a former Gwitchin chief named Johnny Abel. Johnny felt that a film about the Gwitchin lifestyle could be a valuable tool in preserving the culture. I didn’t plan to tell this story through a father and son that had been estranged for most of their lives, but this story emerged as one of the strongest cultural lessons I witnessed. That is the nature of vérité filmmaking — you begin with an idea, but the final film is defined by the twists and turns the characters’ lives take and how it all unfolds before the camera.
Visit the website for Arctic Son!
I'm really looking forward to this one and was excited to see the trailer posted, but it looks like the ...
Thanks for the feedback Mark, I'll keep that in mind :) 
Wow, that does look great!
More video, Agnes! I love when you post cool stuff like this! 
Right on! I thought the exact same thing when I read the times article. I think its also ...